The First Legion Page #2

Genre: Drama
Director(s): Douglas Sirk
Production: United Artists
  1 nomination.
 
IMDB:
6.9
APPROVED
Year:
1951
86 min
64 Views


I'm sorry Marc. Not for me, not today.

Well .. on a day like this ..

I get the feeling, that

either I let a lot of steam ..

Or I'll pull the walls down,

right on top of me.

And a new Samson was hailed in the land.

But where, oh were, was Delilah?

By this time not too young,

and probably. Very fat.

Thank you.

I don't think about her any more.

Oh, I do. Oh ..

Well, let's hear more.

Smile if you want to.

I suppose I broke her heart.

You know that still haunts me.

How old was she?

Not quite eighteen.

Well, she's forgotten it by now.

I hope so.

And yet I don't .. isn't that strange?

No, perfectly normal. Marc.

I'm tired of fighting devils real and

imaginary. I'd like to go home.

I mean the house where I came from.

The street where I used to play as a kid.

I'd like to be part of a real family again.

Well, you talk of leaving,

but what is it you're leaving?

You know, once a Priest, always a Priest.

I don't know, Marc.

All I know is I've got to stop somewhere.

I have to get away from this house.

I'll be regular about it. I'll write to

Father Provincial asking for my release.

But I'm not going to sit around waiting

for an answer. I'm leaving now. Tonight.

You know, Marc, it's pretty lonely

being a Soldier Of God all the time.

You too, Tom?

Yes, I'm like John.

I want a furlough. A long, long furlough.

I want to get out and stay out.

I'm dying in here while

the world passes me by.

It's not much of a world.

I'm not inclined to be

particular about it.

It's beautiful.

As you remember it.

The little part of the world that's

around you. Your childhood, your music.

And your faith in God.

But it is not like that.

Anyhow, wherever a man is

he has to live for something.

What is it you want to live for?

Your music?

If I can't find peace of soul

in this house, just as it is ..

What chance would I have

of finding it in a piano?

You won't find much

peace outside, either.

The fact is, John.

It's a very difficult world.

It's ailing in every

joint and it has fever.

And it stinks like an

old-time sick-room.

Then, that's where we ought to be instead

of locked up here doing nothing about it.

Tom .. if we manage to do

anything at all, it will be from here.

Well, Marc .. as a lawyer, you must

have known the world pretty well.

Well, I was involved in

over fifty cases of murder.

So, you had an excellent reason for

coming here. For you it was an escape.

You wouldn't rebel.

No .. well, I think Father Rector

has certain memories about me.

I was not always happy here.

Are you happy here now?

Come on, let's be very honest about it.

I can be very honest.

I could never find peace anywhere else.

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Emmet Lavery

Emmet Godfrey Lavery (November 8, 1902 – January 1, 1986) was an American playwright and screenwriter. Born in Poughkeepsie, Lavery trained as a lawyer, before devoting his career to the theatre and to film. He wrote the English libretto for Ernst Krenek's 1940 chamber opera Tarquin. 1943 saw him writing for three films: He was one of the team of 22 writers collaborating on the film Forever and a Day. He adapted Gregor Ziemer's book Education For Death for Edward Dmytryk's film Hitler's Children. He wrote the American war film Behind the Rising Sun, based on the 1941 book] by James R. Young.Lavery was president of the Screenwriters Guild of Los Angeles from 1945 to 1947. He served as vice president of the Academy of Motion Picture Arts and Sciences in 1946. In 1946, Lavery was one of six Hollywood figures listed by William Wilkerson in a The Hollywood Reporter editorial under the headline "Hywd's Red Commissars!" Drawing on the biography Mr. Justice Holmes by Francis Biddle, he wrote the play The Magnificent Yankee, which opened in 1946, and he adapted it for the 1950 film version. In 1949, Lavery wrote his play The Song at the Scaffold, adapted from the novel Die Letzte am Schafott by Gertrud von Le Fort. In April–May 1949, Lavery had secured a contract from von Le Fort that granted him all rights to theatrical adaptations of her novel, and formally had declared his own play to be 'the only authorized dramatic version of the novel'. In 1952, Lavery learned of stage productions of Dialogues des Carmélites by Georges Benanos, which Bernanos had written as a film screenplay and completed in 1948, just before his death. In January 1949, von Le Fort had granted the Bernanos heirs permission to publish the screenplay, and had gifted her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. Lavery contacted the literary agent for the Bernanos heirs, Albert Béguin, to inform the latter of the status of theatrical adaptation rights to the von Le Fort novel. Their subsequent two-year literary rights dispute reached arbitration by a jury from La Societé des Auteurs in Paris. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of Dialogues des Carmélites, 15% of the royalties from English-language productions, and 10% from productions in all other languages. This allowed Lavery to earn royalties from both his own play and the Bernanos adaptation, with no contribution of his own to the latter, because of von Le Fort's waiver of her share of royalties and retroactive application of copyright. Separately, Francis Poulenc had begun to compose an opera based on Bernanos' work. He curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via Lavery's agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. Lavery claimed to have met Poulenc in October 1954 and to have come to a cordial agreement on terms and royalties. However, the final formal agreement was not dated until 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, with no contributions of his own at all to Poulenc's libretto.In 1950, Lavery wrote Guilty of Treason; in 1953, Bright Road ; in 1955 The Court-Martial of Billy Mitchell, which was nominated for "Best Story and Screenplay" at the 28th Academy Awards. He wrote Williamsburg: the Story of a Patriot, a 1957 orientation film for Colonial Williamsburg. Lavery and his wife Genevieve Lavery had two children. Their son Emmet G. Lavery, Jr. (1927-2014) was himself a lawyer and a producer in Hollywood. Their second child was a daughter, Elizabeth Taylor. His wife and children survived Lavery. more…

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Submitted on August 05, 2018

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    "The First Legion" Scripts.com. STANDS4 LLC, 2024. Web. 18 Apr. 2024. <https://www.scripts.com/script/the_first_legion_20221>.

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